ecause it offers the most thorough treatment of the conventional viewof the artist’s interest in typology and the place of his work in the burgeoningnatural history tradition of the eighteenth century, a perspective implicitlyshared by the scores of writers in history, anthropology, and related !elds whohave used Brunias’s images, since the time of their creation, as documentaryevidence of race and culture in the eighteenth-century Caribbean.
The author is pointing out here how Tobin's analysis is precisely what Brunia's interest in typology. And who has been used as evidence of race and culture in 18th century Caribbean.